Brian De Palma directed and Paul Schrader wrote Obsession, which features Cliff Robertson, Genevieve Bujold, and John Lithgow in the leading roles. Bernard Herrmann composed the music, and Vilmos Zsigmond handled the cinematography. It appears people tend to either really like or strongly dislike Brian De Palma’s work. He's a director who is an undeniably gifted stylist with a knack for creating exceptional thrillers reminiscent of Hitchcock, though some consider him someone who relies on style to compensate for weaknesses in his storytelling abilities. Regardless, during the 70s and 80s, his films were impossible to ignore, whether you appreciated them or not. Obsession is frequently described as De Palma’s tribute to Hitchcock's Vertigo. It isn't a direct imitation, despite what some reviewers claim, but their narrative structures share similarities. Robertson portrays a man consumed by grief over the loss of his wife and daughter who then encounters a woman (also played by Bujold) who bears an uncanny resemblance to his deceased wife after sixteen years have passed; he becomes fixated on her. As this new woman reciprocates his feelings, their relationship develops into something complicated and potentially unhealthy, culminating in unsettling discoveries that bring hidden truths to light. Considering Vertigo was unavailable for a significant period during the 70s, Obsession served as an excellent alternative for those seeking a stylish thriller with psychological depth. Even if you believe style overshadows substance, the film's visual elements are striking: dynamic camera movements, upward angles, hazy atmospheres, tilted frames, sweeping pans, dreamlike sequences, and personalized focus. The use of New Orleans and Tuscany locations is also notable, as is Herrmann’s evocative score (which incorporates and reworks music from Vertigo). The final reveals are both captivating and bold, although the originally intended ending would have been even more provocative and likely sparked considerable debate. The actors deliver strong performances; Robertson embodies a sorrowful and broken man, with guilt and obsession evident in his portrayal. Bujold is wonderful, offering a subtle yet impactful dual performance that doesn't fully register until later on. Lithgow plays a supporting role as a somewhat shady lawyer who seems perpetually uncomfortable. Ultimately, Obsession feels like a film made in the spirit of Hitchcock, but it’s not an inferior work for it. It isn’t an illegitimate copy of Vertigo; rather, it’s akin to a dependable relative. The movie is pulpy and trashy at times, yet also possesses a certain class. It earns an 8/10.

Source on TMDB